Cinematography is a creative film making department responsible for artistic and technical decisions related to image.
For historical and war based films, this department obviously becomes more important. Cameraman Gnana Sekhar has been an inseparable part of director Krish’s team from Vedam till Gautamiputra Satakarni.
In an exclusive chat with Greatandhra, the awesome technician shared his views on Satakarni.
From 2009:
Through one of my editor friend, I met Krish for Vedam and our journey continued till date for GPSK. I am also working for his next project.
Visuals for GPSK:
I am basically a painter by passion. I get more animated when discuss on history and wars. So, GPSK is a special project for me because I shot extensive war episodes for the first time unlike World War scenes in Kanche.
I follow Bhagavadgita a lot and Kurukshetra battle is already in my imaginations. Those chariots, horses, weapons, soldiers; everything was in my subconscious mind while preparing for GPSK. I loved to capture them in real in terms of Satavahana history.
Involvement into Project:
Krish makes sure that we are notified with every nuke and corner of the story. He explains the story in depth with extensive detailing. This narration makes us well prepared early on before going on production mode. After digesting the script and characters, any cameraman cannot go in spoiling a director’s dream. Every scene gets strongly recorded in brain. Going on production is like attending an exam with every chapter thoroughly prepared.
Later, Krish explains us only the scene for that particular day and remaining else easily comes into our execution like lighting, framing and all technicalities. I never had conflict of thought with Krish during execution which explains the healthy relationship between us.
Balakrishna:
He is a treasure of knowledge. Balayya garu made our work simple and easy with his dedication and involvement. He used to be punctual on sets in advance before our attendance.
Locations and Weather:
Countries like Morocco have inconsistent weather conditions. There’s dust, cold winds, rains and many real time issues. That’s actually the challenge and we overcame it as a team.
Color Schemes:
Satakarni story dates back to early Anno Domini. I studied about the rock structures, cultures of those times before composing the color scheme and resolution. From costumes to artists foot wear, there is a color evolution which is not too bright and modern used in filming.
You can find a unique tone of natural colors which take audience to that Satakarni world offering a periodic and old feel.
War Episodes:
The war field patterns designed for GPSK are unique and indigenous and had no parallels. Although I cannot categorize them but for sure a viewer can feel the depth in visuals and sound like horses running at100-150 kms/hr speed and for a technician, this is uncontrollable.
GPSK is gives a different war perspective.
All the rumors circulated on GPSK battle field scenes lifted from Bajirao Mastani are fake and baseless. As a cameraman, it hurts when all our efforts are debased because the time and energy we put into making aren’t respected.
Dediation at GPSK:
For proper nine months we had no other commitments. From morning 7am to evening 6pm, eleven hours a day we had no thoughts except Satakarni. I cannot compare with any other war films but for sure we achieved what we wanted in a given time period. Extreme dedication and no time wastage, we fought like soldiers for GPSK. Post production is other creative department which took ample time.
Direction Offers:
I am very happy with cameraman job. No plans to take up direction.
GPSK USP:
This movie is a complete package. Story is special, entire 135 minutes there will be visual beauty on screen. GPSK gives a pleasant experience, keeps you engaged and easily falls into your comfort zone.
And the competent film technician (DFT) from Hyderabad, Gnana Sekhar signs off.
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